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As the world grapples with the coronavirus (COVID-19) pandemic, on
almost every news website, across social media, as well as in its
(many) absences, leisure has taken on new significance in both
managing and negotiating a global crisis. Leisure in the Time of
Coronavirus: A Rapid Response, amidst the disruption,
inconvenience, illness, fear, uncertainty, tragedy, and loss from
COVID-19, generates discussions that enable leisure scholars to
learn and to engage with wider debates about the crucial role of
leisure in people's lives. The pandemic has brought tourism to a
standstill with borders closed and travel restricted. From home
(for those fortunate enough to have them), in physical isolation,
and in attempts to socialize, at no time in recent memory has
leisure seemed so vital, and yet also so hauntingly absent.
Leisure, therefore, remains an important lens through which to
view, question, and understand the world. The chapters in this book
were originally published as a special issue of the journal,
Leisure Sciences.
This book brings together chapters that address questions of
leisure, activism, and the animation of urban environments. The
authors share research that explores the meaning and making of
activist practices, events of dissent, and the arts in everyday
life. Situated in a growing body of activist scholarship and social
justice research, within the field of leisure studies, the
contributions spotlight understandings and disruptions of public
spaces in cities. These range from overtly political practices such
as protest marches to recreational practices such as skateboarding
and bicycling that remake cities through their contestations of
space. Across the collection the chapters raise broader questions
of civil society, whether it is research on youth activism,
historical uses of public spaces by rightwing or racist groups, or
interrogating the absence of leisure and closure of public spaces
for people experiencing homelessness. Some chapters explore events,
such as festivals as sites of resistance and social change. In
others, grassroots neighbourhood activism through arts is
centralised, or mega-events are framed through protest campaigns
against bids to host the Summer Olympic Games. A central thread
running through the chapters is the question of whose voices count
and whose remain unheard in events of dissent in the city. The
chapters in this book were originally published as a special issue
of Leisure Studies.
This book centralizes powerful leisure stories that may otherwise
be understood as myths-sometimes recognized, often less so-that
circulate in the field of leisure studies and beyond. In everyday
use, a myth perpetuates a popularly held belief that is false or
untrue. However, in social and cultural theories, myths are more
complex as partial truths that privilege particular versions of a
shared social reality. We see myth as having an "absent presence"
in leisure studies, and want to know what myths are, what they do,
and how they circulate and shape people's leisure lives. Myths can
do more than obfuscate; they often animate people's lives, motivate
collective action, and inspire change. As the chapters in this
edited volume explore in further detail, leisure myths and
mythmaking involve complex relations in the gaps between reality
and imagination-from the shared myths of musical legends to myths
of placemaking and communities, as well as from origin myths of
sport practices to fantasy and festivals, to the importance of
storytelling as mythmaking in tourism. In different ways, each of
these chapters alerts the readers to the "absent presence" of myths
and mythmaking in leisure research. The chapters in this book were
originally published as a special issue of Leisure Sciences.
Drawing from research conducted at the Rock and Roll Hall of Fame
archives, and the author's experience as a local musician, this
book offers a micro-historical case study of Cleveland's popular
music heritage. Among just a handful of books dedicated to the
popular music heritage of Cleveland, it traces myths of "where rock
began to roll" in the self-proclaimed "birthplace of rock and
roll". Numerous cities have sought to capitalize on their popular
music cultural heritage (e.g., Liverpool, Memphis, Detroit,
Nashville) as an engine for cultural regeneration. Unusually,
rather than a focus on famous musicians and groups, or well-known
recording studios and legendary venues, Cleveland's popular music
"origin story" is spun from events of the early 1950s, centered on
local radio stations, maverick disc jockeys, second-hand record
stores, a riotous concert and youthful, racialized audiences at a
moment on the cusp of sweeping social changes. This book untangles
the construction of popular myths about "first" rock 'n' roll
concert--the Moondog Coronation Ball on 21 March 1952, hosted by
legendary DJ Alan Freed--the "invention" of the phrase "rock 'n'
roll", and the subsequent rebranding of Cleveland as the
"birthplace of rock 'n' roll" by local radio station WMMS "The
Buzzard" during the 1970s. These myths re-emerged and re-circulated
in the 1980s during the successful campaign to attract the Rock and
Roll Hall of Fame. The author explores the fascinating and unusual
story of Cleveland, uncovering how and why it became the site of a
major popular music museum.
This book draws from a rich history of scholarship about the
relations between music and cities, and the global flows between
music and urban experience. The contributions in this collection
comment on the global city as a nexus of moving people, changing
places, and shifting social relations, asking what popular music
can tell us about cities, and vice versa. Since the publication of
the first Sounds and the City volume, various movements, changes
and shifts have amplified debates about globalization. From the
waves of people migrating to Europe from the Syrian civil war and
other conflict zones, to the 2016 "Brexit" vote to leave the
European Union and American presidential election of Donald Trump.
These, and other events, appear to have exposed an anti-globalist
retreat toward isolationism and a backlash against multiculturalism
that has been termed "post-globalization." Amidst this, what of
popular music? Does music offer renewed spaces and avenues for
public protest, for collective action and resistance? What can the
diverse histories, hybridities, and legacies of popular music tell
us about the ever-changing relations of people and cities?
This first academic collection dedicated to popular music in
Leeds -Â developed from the work of interdisciplinary
scholars, drawn from a major public museum exhibition
“Sounds of Our City” and built upon contemporary
research. Leeds has rich musical histories and heritage, a
long tradition of vibrant music venues, nightclubs, dance
halls, pubs and other sites of musical entertainment. The
city has spawned crooners, folk singers, punks,
post-Â punks, Goths, DJs, popstars, rappers and
indie rockers, yet – with a few exceptions - Leeds
has not been studied for its scenes in ways that other UK
cities have. In ways that the chapters explore, Leeds’
popular music exemplifies and informs understandings of
broader cultural and urban changes – both in Britain and
across wider global contexts – of the social and historical
significance of music as mass media; music and
migration;Â music, racialisation and social equity;
industrial decline, de-industrialisation, neoliberalism and
the rise of the 24-hour city. Charting moments of
stark musical politicisation and de-politicisation,
while concomitantly tracing arguments
about “heritagising” popular music within
discussions about music’s “place” in museums and in
the urban economy, this book contributes to
debates about why music matters, has mattered,
and continues to matter in Leeds, and beyond. Â
This book draws from a rich history of scholarship about the
relations between music and cities, and the global flows between
music and urban experience. The contributions in this collection
comment on the global city as a nexus of moving people, changing
places, and shifting social relations, asking what popular music
can tell us about cities, and vice versa. Since the publication of
the first Sounds and the City volume, various movements, changes
and shifts have amplified debates about globalization. From the
waves of people migrating to Europe from the Syrian civil war and
other conflict zones, to the 2016 "Brexit" vote to leave the
European Union and American presidential election of Donald Trump.
These, and other events, appear to have exposed an anti-globalist
retreat toward isolationism and a backlash against multiculturalism
that has been termed "post-globalization." Amidst this, what of
popular music? Does music offer renewed spaces and avenues for
public protest, for collective action and resistance? What can the
diverse histories, hybridities, and legacies of popular music tell
us about the ever-changing relations of people and cities?
This is the first handbook devoted entirely to leisure theory,
charting the history and philosophy of leisure, theories in
religion and culture, and rational theories of leisure in the
Western philosophical tradition, as well as a range of
socio-cultural theories from thinkers such as Adorno, Bauman, Weber
and Marx. Drawing on contributions from experts in leisure studies
from around the world, the four sections cover: traditional
theories of leisure; rational theories of leisure; structural
theories of leisure; and post-structural theories of leisure. The
Palgrave Handbook of Leisure Theory is essential reading for
students and scholars working in leisure studies, social theory as
well as those working on the problem of leisure in the wider
humanities and social sciences.
This first academic collection dedicated to popular music in
Leeds -Â developed from the work of interdisciplinary
scholars, drawn from a major public museum exhibition
“Sounds of Our City” and built upon contemporary
research. Leeds has rich musical histories and heritage, a
long tradition of vibrant music venues, nightclubs, dance
halls, pubs and other sites of musical entertainment. The
city has spawned crooners, folk singers, punks,
post-Â punks, Goths, DJs, popstars, rappers and
indie rockers, yet – with a few exceptions - Leeds
has not been studied for its scenes in ways that other UK
cities have. In ways that the chapters explore, Leeds’
popular music exemplifies and informs understandings of
broader cultural and urban changes – both in Britain and
across wider global contexts – of the social and historical
significance of music as mass media; music and
migration;Â music, racialisation and social equity;
industrial decline, de-industrialisation, neoliberalism and
the rise of the 24-hour city. Charting moments of
stark musical politicisation and de-politicisation,
while concomitantly tracing arguments
about “heritagising” popular music within
discussions about music’s “place” in museums and in
the urban economy, this book contributes to
debates about why music matters, has mattered,
and continues to matter in Leeds, and beyond. Â
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